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—LEtIrOps 


Lathrop, 28,00 
Hewnen, 10,00 
Lathrop, 7.50 
Newnan, 15,00 
Lathrop, 7.50 
Cole, 15,00 
Twachtmans 75.00 
Lathrop, 5,05 
Rehd, 75,00 
dew OB 45 % 
Lathrop. 45.00 
naga 7380 
Lathrope 1. 00 
Lathrop, 10. 00 
Latnrops 2. 00 
Lathrop 10, 00 
Lathrope 2. 00 
Lathrop, 20. 00 
Lathrop. 50, 00 
Besnard, 20. 00 
Lathrops 1 6. 00 
Besnard, 2. 00 
Lathrop. 0, 90 
Lathrops -viaaluabesinin 


Diaz, 


Corot, 
Gaspar Poussin, 50,00 
Newnan, 12,50 
italian School, 75.00 
Wilson, _ 75,00 
Gainsborough, 85.00 
Lathrops 75,00 
Gainsborough, 150,00 
Robusti, 2,000,00 
Hobbema, 475,00 
Dutch School, 50,00 
Weir, 150,00 
U1lft, 35,00 
Weir, 100,00 
Poole, 35,00 
AS 35,00 
Spanish School, 50,00 
Lathrop, 27,50 
Lathrop, (Passed) 


“  DYawing ss” 


Venetian Scene, 


A. Geo 

Doteh School, 
Spanish School, 
Sprangers 
sae School, 


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| 
| 


Portrait of Francis LATHROP, painted by himself, in Rome, 1895. 


No. 900 


Paintings ann Studia Property 


OF THE LATE 


Francis Lathrop 


or, NEw YorkK CIty. 


IN ADDITION TO THE WORK OF Mr. LATHROP ARE EXAMPLES OF 


ROUSSEAU . DELACROIX GAINSBOROUGH (2) 
DUPRE COURBET RICHARD WILSON 
DIAZ (3) DAUBIGNY ~ CAMPHUYSEN 
COROT (4) BONVIN _ TWACHTMAN 
-BESNARD (2) LUMINAIS LA FARGE : 


ALso PAINTINGS OF THE FRENCH, DutcH, FLEMISH, SPANISH AND 
- Farry Iranian Scnooris; Coton Prints ny Mary Cassatt, HELLEU, 
LEPERE,’ AND OTHER FRENCH’ AND GERMAN MopERNS; STAINED 
GLASS; DRAWINGS AND STUDIES; AND A COLLECTION OF 
MORE THAN THREE THOUSAND PHOTOGRAPHS 
oF THE WorK oF FAMOUS ARTISTS FROM 

| THE EARLIEST TIMES. 


TO BE SOLD WITHOUT RESERVE 
AT 


Che Anderson Art Galleries 


MADISON AVENUE AT FORTIETH STREET 
AND 12 EAST FORTY-SIXTH STREET 


APRIL ATH, OTH AND 6rn, 1911 


TurspAy Evp.,.. Lots 1- 75—Manpison Ave. GALLERIES 


Wepnespay Eve., “ 76-1838—Mapison Avr. GALLERIES 
TrurRsDAY Eve., ‘“ 139-374—Forty-stxtH Sr. GaLLerizs 


SALES BEGIN AT 8.30 O'CLOCK. 


, 


EXHIBITION AT BOTH GALLERIES FROM MARCH 30TH, 9.30 A.M. TO 5 P.M. 


Che Anderson Auction Company 


12 Kast 46TH STREET 
New York 


TELEPHONE, BRYANT 271 : 


ART AND MISCELLANEOUS 


Conditions of Sale 


1. All bids to be per Lot as numbered in the Catalogue. 

2. The highest bidder to be the buyer; in all cases of disputed bids 
the lot shall be re-sold, but the Auctioneer will use his judgment as to 
the good faith of all claims and his decision shall be final. He also re- 
serves the right to reject any fractional or nominal bid which in his 
judgment, may delay or injuriously affect the sale. 

3. Buyers to give their names and addresses and to make such cash 
payments on account as may be required, in default of which the lots 
purchased to be immediately resold. 

4. The lots to be taken away at the buyer’s expense and risk within 
twenty-four hours from the conclusion of the sale, and the remainder of 
the purchase money to be absolutely paid on or before delivery, in default 
of which the Anderson Auction Company will not be responsible if the 
lot or lots be lost, stolen, damaged, or destroyed, but they will be left at 
the sole risk of the purchaser, and subject to storage charges. 

5. To prevent inaccuracy in delivery, and inconvenience in the set- 
tlement of purchases, no lot will be delivered during the sale. 

6. All lots will be exposed for public exhibition two or more days 
before the date of sale, for examination by intending purchasers, and the 
Anderson Auction Company will not be responsible for the correctness of 
the description, authenticity, genuineness, or for any defect or fault in or 
concerning any lot, and make no warranty whatever, but will sell each lot 
exactly as it is, without recourse. But upon receiving before the date 
of sale expert opinion in writing that any lot is not as represented, the 
Anderson Auction Company will use every effort to furnish proof to the 
contrary, and in default of such proof the lot will be sold subject to the 
declaration of the aforesaid expert, he being liable to the owner or own- 
ers thereof for damage or injury occasioned by such declaration. 

7. Terms Cash. Upon failure to comply with the above conditions 
any sum deposited as part payment shall be forfeited, and all such lots 
as remain uncleared after twenty-four hours from the conclusion of the 
sale, will be re-sold by either private or public sale at such time as. the 
Anderson Auction Company shall determine, without further notice, and 
if any deficiency arises from such re-sale it shall be made good by the 
defaulter at this sale together with all the expenses incurred thereby. 
This condition shall be without prejudice to the right of the Anderson 
Auction Company to enforce the contract with the buyer, without such 
re-sale. 

8. The Anderson Auction Company will afford every facility for the 
employment of carriers and packers by the purchasers, but will not be 
responsible for any damage arising from the acts of such carriers and 
packers, 

THE ANDERSON AUCTION COMPANY, 
12 East 46TH STREET, New YorK. “ 


Priced copy of this Catalogue may be secured for $1.50. 


NOTE 


The First and Second Evening’s Sale will 
be held at THE Mapison AVENUE GALLERIES 
on Tuesday and Reine: Evenings, April 4 
and 5, 1911, beginning at 8.30 o'clock. 


The Third Evening’s Sale will be held at 
the Forty-SixtH |STREET GALLERIES on Thurs- 
day Evening, April 6, 1911, at 8.30 o'clock. 


The Exhibition of the first and second 
sessions will be held at the Madison Avenue 
Galleries; the third session will be exhibited at 


the Forty-Sixth Street Galleries. 


All Paintings and Studio Property to be 


sold without reserve to the highest bidder. 


LV Nese 


LOT 


Besnard (Paul Albert) .26, 28,218 | 


(Braneis se. <n ee 44 
Byzantine School. jac ea snc-a rm 123 
Calliari (Carlo), Attributed to. 122 


Bonvin 


Camphuysen (Raphael)..... 112 
Cassatt (Marty) Gicsans se ee dois 
Cole A(T: Foxerolt) sas. ee ae 
Color Prints, French and Ger- 
Mati?) (2.5 eae .. 218-288 
Cornelisz of Harlem......... Ts 


Corot: (J B.C.) a D0 cpa) aa 


Corot, Attributed to.....:... 145 
Courbet (Gustave)...... aan ae 
Daubigny..COr Etta date = 56 | 
Delacroix’ (Ha Vos eee 46 
Dia Gr, res 48, 51, 57 
Dupré «(Jules ieee aa ee 53 | 
Duteh School. .3 ses. 68, 107, 116 
Duyrieur’ > (HZ) Fo ee eee 103 
Duyster: (.WaGi yee ee ee 45 
Elliott (Chas: Lormg) 2... 105 
English School, 19th Century 

110, 130 
Espinosa, Ascribed to........ 118 


Flemish School, 17th Century 120 
Frames, Italian and Spanish 


371-374 

French School, Early 19th 
GenDUr yar 0. eS. cae 106 
FTeseos "Sa lage cits ea eee 291 
G (A.), French School.. 106 
Gainsborough (Thos.)..... 63, 65 


Hobbema (M.), Attributed to. 67 
Italian School 61, 119, 121, 136 
La Farge (John) .2.%5 oo. 41, 133 
Lathrop (Francis), 1-25, 27, 
29-32, 34, 36, 39, 64, 75, 76- 


102, 126, 128, 137-141, 144, 147 


Lor 
.. 3814, 323-345 
Lathrop Drawings for Stained 


Lathrop Drawings 


Glass ..3.7 42 , 294-303 
Luminais.( i. VV.) eee ee a 
Marble Mosaic Panel........ 371 


Meer (Jan vander) the younger 111 

Meyer CE). ine pee La 
Newman (Ri [os 334; 35;74m. 

60, 104, 126.9127, 129.) 132 

Owen’ (MM. Aspe ee 

Photographs, 148-217, 289, 292, 

304-309, 311, 315-322 


‘Pokitonow2 (1v4an)}e. ae ee 43 
Poole (i): Fn a eee 72 
Posters.” \s:: 3¢..c eee 290 
Poussin (School of Gaspar)... 59 
Reid ( Robt.) a. ula eeuenee 40 
Reynolds *(Sir Joshua)...... 73 
Rosa .(Salvateninsse maseoecne 134 
Rousse@ai: (URi)%. cane eee 55 
Spanish School....... 74, 108, 135 
Spranger (Bartholomew), . | 
School .of >. gain eee 109 
Stained Glass...:..... .. 346-369 
Tiepolo: .: .ya...5 eee ELT, 2936 
Tintorettoy:.. 2 ee 66 


Twachtman (John H.)....38, 124 
Unknown 
Vander Ulft (Jacob) ........ 70: 
Venetian School, circa 1700.. 114 
Watkins «(E. Dj) oeeeee 114 
Weir (J. Alden} ety nee 69, 71 
Wilson ~ (Richard \i= aa 62 


2 ee 115, 146° 


INDEX TO ILLUSTRATIONS 


Portrait of Francis Lathrop, by himself—Frontispiece 


Camphuysen—Architectural Study with Figures No. 112 


Corot—Landscape and River View No. 52 
Corot—Landscape : No. 58 
Delacroix—Mediaeval Horsemen No. 46 
eed Interior No. 51 
Diaz—The Quarry | No. 57 
Gainsborough—Portrait of Miss Burr No. 63 
Italian School —The Holy Family No 119 
Lathrop (Francis)— Madrilena No. 64 
3 Rousseau— Landscape No. 55 
- Tieopolo - Adoration of the Magi | No. 117 
Tintoretto—Mother and Child No. 66 


Wilson (Richard)—/talian Landscape No. 62 


NOTE 


In the death of Francis Lathrop American art lost one of its 
strongest influences for good. He was one of the rare artists 
whose appreciation of art was in no way confined to any school 
nor method of work. His broad taste was a constant source of 
inspiration and encouragement to his young friends. Never was 
there the slightest, attempt to fashion their minds after a pre- 
conceived ideal, but there was ever the desire to enter into the 
thoughts of the younger men in order to help them to express 
these thoughts in their work. His own earliest work as a painter 
shows a strong decorative sense. It was founded largely on the 
principles of the Pre-Raphaelite School. Whistler directed his 
art education and sent him to London that he might work with 
Morris (at.whose suggestion he took up decoration) and be under 
the influence of Rossetti and Millais. 


Lathrop was singularly fortunate in his friendships, having 
been intimate with most of the prominent painters and authors’ 
of his day. His relations with the robust Besnard must have 
been of great value as a source of energy. Standing together once 
in the Arena Chapel in Padua, profoundly.moved by the frescos 
of Giotto, Besnard said: “Ah, Lathrop, this is what we must get 
into our work—this massive simplicity—I am going to Switzer- 
land, far from the pettiness of modern art, and I shall keep what 
we have seen to-day as a touch-stone for whatever I shall do in 
the future.” 


After his return to America, with John La Farge he deco- 
rated the interior of Trinity Church, Boston, a work which will 
probably remain for many years the high-water mark of deco- 
rative art in America. About the same time, associated with 
Vedder, he decorated walls and ceilings in the residence of Mr. 
Collis P. Huntington. Among larger decorations in New York 
are the painting over the Altar of St. Bartholomew’s Church 
and that over the proscenium arch of the Metropolitan Opera 
House, which was unfortunately destroyed by fire. The large 


éartoon and the smaller color sketch which were in Mr. Lathrop’s 
studio at the time of his death give a clear impression of ‘its 
decorative value. His stained glass was equally fine and has 
played no unimportant Bet in the development of the art in 
America. 


Travel brings out more than anything else the critical facul- 
ties. Lathrop had these finely developed, and his knowledge was 


’ supplemented by an excellent memory ‘and a very complete col- 


lection of photographs with notes (offered in this collection). 
This made his defense of the Velasquez portrait of Philip LY. 
in the Boston Museum (published in the Burlington Magazine 
for April, 1905), most convincing. He felt the portrait to be 
of greater value to the student than most of his later works, and 
from his article we learn that there are no short-cuts in art even 
for a. Velasquez. 

Of late years Mr. Lathrop’s failing health did not permit ee 
to devote much time to creative work. His critical faculty and love 
for beauty early led him to collect works of art, and his collection 
of paintings include many fine examples of European work. 


~The last fifteen years of his life were devoted almost entirely to 


the formation of his remarkable collection of Japanese paintings 
and prints. To properly understand the art of the extreme Orient 


_ and to make his collection a complete exposition of the art, Mr. 
Lathrop was ready to make any sacrifice. All his collections 


were left to the Metropolitan Museum of Art—but the condi- 
tions attached forced the Museum authorities to decline the be- 
quest. It is, however, earnestly hoped by the lovers of Oriental 
art that eventually the finest of his Japanese prints and paint- 
ings will form the nucleus of a much-needed public collection, 
so that his hife-work will not have been in vain. By the terms 
of his will, all the assets of the estate are to be invested by the 
executors, and the income after the death of certain heirs is to 
be used to buy works by American artists for the Metropolitan 
Museum. It is peculiarly fitting that his influence for good 


should thus be continued. 
HAMILTON EASTER FIELD. 


No. 900 


THe SALES WILL BEGIN PROMPTLY AT 8.30 P.M., AND WILL BE HELD 
AT THE ANDERSON GALLERIES AS FOLLOWS: 


1st Session. Tues. Evg., April 4, at Madison Avenue and 40th St. 
2d Session. Wed. Evg., April 5, at Madison Avenue and 40th St. 
3d Session. Thurs, Evg., April 6, at No. 12 East 46th Street. 


The attributions of this catalogue are all by Mr. Lathrop. The 
compilers have felt completely justified in accepting his judgment, as 
Mr. Lathrop had expert knowledge of paintings—the result of many 
years’ study. 


LATHROP (FRANCIS), 
American Artist, 1841-1909. 


(Numbers 1 to 15 are Studies for the Decoration of St. Batholomew’s 
Church in Pencil and Chalk Drawings on Gray Paper.) 


1. DRAPED HEAD OF A WOMAN. 


One-fourth life size. 


® HEAD OF A WOMAN. 


One-half life size. 


TWO STUDIES OF DRAPERY. 


(os) 


4. HEAD OF A MAN. 


One-half life size. 


5. HEAD OF A. WOMAN. 


One-fourth life size. 


No. 46: MerprAEvVAL HORSEMEN, BY DELACROIX. 


eG: 


ce 


12. 


13. 


14. 


15. 


STANDING FIGURE DRAPED. 


HEAD OF A WOMAN: 


One-fourth life size. 
HEAD OF A MAN. 


HEAD OF A WOMAN. 


One-fourth life size. 


HEAD OF A WOMAN. 


Life size. 


“HEAD OF A WOMAN. 


One-fourth life size. 


TWO STUDY HEADS OF WOMEN. 


DRAPED HHAD OF A WOMAN. 


Life size. 


TWO STUDY HEADS. 


One-fourth life size. 


TWO MORE of same character. 


16 


LATHROP (FRANCIS). 


A GIRL IN WHITE. 


Pastel. Height, 15 in.; width, 12 in. 


17 


LATHROP (FRANCIS). 


THE WHEEL OF FORTUNE. 


Sketch in pastel for the ceiling decoration of the Ball 


Room in the Huntington House, New York. 


18 
LATHROP (FRANCIS). 


TRIPLEX PANEL IN OIL. 


ciy— Children with musical instruments. 


19 
LATHROP (FRANCIS). 


THE WHEEL OF FORTUNE. 


‘ik vO | Study in oil for the ceiling decoration of the Ball Room 
‘in the Huntington House, New York. 


20 : 
_ LATHROP (FRANCIS). 


LUNETTE: ‘APOLLO. 


Cartoon for music room decoration. 


21 
LATHROP (FRANCIS). 


1q — PANEL DECORATION IN WATER COLOR. 


Seated female figure with doves. 


22 
LATHROP (FRANCIS). 
RECLINING FEMALE FIGURE. 


Pastel Drawing. 
Height, 10 in.; width, 144 in. 


eee 


23 
LATHROP (FRANCIS). 


THREE DECORATIVE PANELS IN OIL COLORS. PO — 
Female figures for a Music room. 


24 
LATHROP (FRANCIS). 


SMALL STUDY. 


In Oil Colors of the Mural Decoration in St. Bartholo- y 
mew’s Church, New York. A~ 
Height, 38 in.; width, 30 in. 


wy 25 
LATHROP (FRANCIS). 
WATER COLOR STUDY. 


For the Decoration “Abundance.” “~Oo— 
Height, 25 in.; width, 11 in. 


26 
BESNARD (PAUL ALBERT). 
Contemporary French Artist. 


WOMAN’S HEAD. 
Water Color. Signed and dated. 1895. CO 


Height, 14 in.; width, 12 in. 
27 


LATHROP (FRANCIS). 
1841-1909. 


PASTEL STUDY OF A FEMALE FIGURE, nude. Ljo— 
Height, 20 in.; width, 30 in. 


> 
| 


28 


BESNARD (PAUL ALBERT). 


Contemporary French Painter. 


STUDY OF A WOMAN. 


Pastel study on gray paper. 
Inscribed to the artist. 
Signed. Height, 13 in.; width, 16 in. 


29 
LATHROP (FRANCIS). 


APOLLO: SMALL LUNETTE. 


Study for the larger decoration of a Music room. 
Height, 9 in. . wideh: 25 In. 


30 


LATHROP (FRANCIS). 


SEMI-NUDE FEMALE FIGURE. 


Pastel study for the principal figure in the “Wheel of 
Fortune,” decoration in the C, P. Huntington House, 
New York. 


Height, 16 in.; width, 30 in. 


ol 


LATHROP (FRANCIS). 


HOSPITALITY. 


Upright panel in color for wall decoration. 


32 
LATHROP (FRANCIS). 


PORTRAIT OF JAMES RUSSELE LOWELL, while Ambas- 
sador to England. | 


Painted from life in black and white. x j= 
Canvas. Height, 214 in.; width, 15 in. 
oo 
NEWMAN (R. L.). 


Contemporary American Painter. 


CHRIST AND THE APOSTLES. 


lO— 
Canvas. Height, 20 in.; width, 30 in. | 2 
34 
LATHROP (FRANCIS). 
STUDY OF A GIRL. oS 
Canvas. Height, 24 in.; width, 20 in. / ae 


35 
NEWMAN (R. L.). 


GREEK. SHEPHERD. 


Canvas. Signed. 
Height, 10 in.; width, 12 in. 


36 
LATHROP (FRANCIS). After Giorgione. 


MAN IN ARMOR. 


Gouache Study. 
Height, 16 in.; width, 104 in. 


37. 


COLE (J. FOXCROFT). 


American Painter, —1892. 
MYSTIC LAKE. 


a Canvas. Signed. 
|S a Height, 10 in.; width, 12 in. 


From the Memorial Exhibition of the Artist’s work at the 
Museum of Fine Arts, Boston, 1893. 


38 
TWACHTMAN (JOHN H.). 
American Painter, 1853-1902. 


FISHING BOATS ON THE BAY. 


ger Across the placid waters of the bay fishing boats with 
. spread sails drift languidly. Gray clouds hang low obscuring 
the sky. — 


Canvas. Signed. 
Height, 20 in.; width, 24 in. 


39 
LATHROP (FRANCIS). f 


PORTRAIT OF GEORGE PARSONS LATHROP. 
Profile portrait of the artist’s brother. 


Canvas. Height, 14 in.; width, 12 in. 


40 
REID (ROBERT), N. A. 


Contemporary American Painter. 
ae YOUNG WOMAN BATHING. 


Canvas. Signed. 
Height, 274 in.; width, 244 in. 


At 
LA FARGE (JOHN). 


THREE LUNETTES. 


Painted In wax by La Farge for the Vanderbilt 
house. (3) | 


AZ 


NEWMAN (R. L.). 
PSYCHE. : 
Canvas. Signed. 
Height, 8 in.; width, 12 in. 


43 
| POKITONOW (IVAN). 
COTEAUX DES PYRENEES, SOIR. 


Beyond a stretch of plain are seen the snow covered moun- 
tains and the grassy slopes of the foothills. At the farther 
side of the plain a village nestles among the trees. The 
snowy mountains are brilliant under the rays of the declin- 
ing sun. ; 
Panel. Signed. | 
Height, 54 in.; width, 9 in. 


Ad 


BONVIN (FRANCOIS). 
1817-1887. 


INTERIOR, WITH A WOMAN SEWING. 
Ina large tile-paved living room, a young woman, wearing 
a white frilled cap and long apron, is seated sewing on a 
white garment. On a table beside her rests her work-basket 
above which ranged along the wall are the copper and brass 
kitchen utensils. 


Canvas. Height, 22 in.; width, 18 in. 


<i se 


45 
DUYSTER (W. C.). 


TRIC-TRAC PLAYERS. 


— A ‘similar picture by this artist is in the basen 
ig Gallery at St. Petersburg. 


Height, 124 in.; width, 16 in. 


46 


DELACROIX (FERDINAND VICTOR EUGENE). 
1798-1863. 


MEDLAIVAL HORSEMEN. 


A Medieval warrior on a black horse, attended by a fol- 
Uf. a Gea lower on a white charger, leads a band of horsemen. The ° 
chief with helmet and shield turns in his saddle waving his 
lance to encourage his followers. The vivid color and tur- 
bulent life of these semi-barbaric scenes appealed strongly to 
this artist’s Southern nature and in their dramatic move- 
ment his art found its highest expression. 


Panel. Signed. 
Height, 18 in.; width, 15 in. 


[See Illustration. ] 


AT 


LUMINAIS (EVARISTE VITALL). 
1821-1896. 


THE INVASION OF ITALY BY THE GAULS. 


In a rocky defile a party of Gallic horsemen meet in hand- 
to-hand conflict the native soldiery, resulting in great con- ~ 
fusion and violence. In depicting such scenes from the 
early history of the French people, Luminais won great 
renown. 


Canvas. Signed. 
Height, 22 in.; width, 32 in. 


‘ ' No. 52: Lanpscare AND RIVER VIEW, BY COROT. 


A WOODLAND STUDY. 


48 


DIAZ DE LA PENA (NARCISSE VIRGILIO). 
1809-1876. 


FOREST OF FONTAINEBLEAU. 


On either side rise great trees, their branches meeting 
above, their trunks speckled with lichen, catching the light 
of the afternoon. Beyond one sees other trees rising against 
a blue sky with snowy floating summer clouds. Beside a 
pool in the foreground the figure of a woman is seen stand- 


ing. A” 
Panel. Signed. A&E 
Height, 64 in.; width, 84 in. 

Dated on the back 1869. 


49 


COURBET (GUSTAVE). 
1819-1877. 


A number of forest trees in cool mid-summer foliage lift 
their branches, through which the light of the Western sky 
breaks with reflections on the pool resting below. is 


Canvas. Signed. 
Height, 23 in.; width, 16 in. 


es | 50 
COROT (J. B.C). 


1796-1875. 


A STUDY OF BUILDINGS. 


Canvas. Signed. - 
Height, 24 in.; width, 18 in. 


wf < ‘ , 
OO = 


L ¢ 
LAN oo 
9 sj] UU 


te a 
i. Ying She ae 
AS 


ol 


DIAZ DE LA PENA (NARCISSE VIRGILIO). 
1809-1876. p 
WOOD INTERIOR. 

Stretching away between the forest trees which rise darkly 
on either hand, the landscape ends in a ridge of hills. In the 
middle distance a huntsman and his dog are seen, beyond 
which rises a large tree on the hillside. The sky is filled 
with wind-blown clouds. . 


Panel. Signed. 
- Height, 142 in.: width, 172 in. 


[See Illustration. ] 


oz 


COROT (J. B. C.). 
1796-1875. 


LANDSCAPE AND RIVER VIEW. 


Down a foot path which winds across the plain from the 
village in the distance comes an old woman leading a child. 
Above them at the left is a group of slim trees, and at the 
right flows the placid river on whose surface is seen a boat 
with a man, drawn up at the bank, beneath a group of trees. 


Panel. Signed. 
Height, 94 in,; width, 164 in. 


[See Illustration. | 


o3 


DUPRE (JULES). 


1811-1889. 
LANDSCAPE. 


The scene shows a wide stretching plain bordered by a 
thin line of straggling trees. In the foreground lies a pool 
at which cattle are gathered to drink, herded by a woman. 
On the right in the distance is a farm house and over all a 
sky of blue heavily veiled by clouds. 


Panel. Signed. 
Height, 64 in.; width, 134 in. 


54. 


COROT (J. B. C.). 
1796-1875. 


LANDSCAPE, EVENING. 


On the surface of the pond which stretches across the fore- 
eround floats a boat bearing a man. Above on the right is a 
mass of trees and through an opening is seen a distant vil- 
lage with a monastery on the hill above. At the left rises a 
single tree. A summer sky stretches above with white sum- a 27 — 
mer clouds. | | 


Panel. Signed. . 
Height, 6 in.; width, 10 in. 


DO 


ROUSSEAU (THEODORE). 
1812-1867. 


LANDSCAPE. 


Beyond the green plain with its shrubs and young trees 
among which cattle are grazing, rises a round hill, its out- 
line fringed with trees. The sky is overcast with clouds, but 
shows a brilliant hght at the horizon. 


Panel. Signed. 
Height, 84 in.; width, 124 in. 


[See Illustration. ] 


36 


DAUBIGNY (C. F.). 
1817-1878. 


LANDSCAPE WITH FIGURES. 


Canvas. Signed. 
Height, 5 in.; width, 8} in. 


oO” 


DIAZ DE LA PENA (NARCISSE VIRGILIO). 
1809-1876. 
THE QUARRY. 

Through a narrow valley strewn with huge mossy boulders 
and hemmed round with high hills, meanders a stream — 
toward the foreground. ‘The trees scattered through the 
valley and over the hillsides are in autumn dress. A single 
figure of a woman gathering faggots is seen. Behind the 
hills the sun is setting, flooding the sky with brillant eae, 
the foreground is in shadow. 

Panel. Signed. 
Height, 14 In. ; width, 234 in. 
[See Illustration.] 


38 


COROT (J. B. C.). 
1796-1875. 


HILLSIDE LANDSCAPE. 


Between trees which rise in the foreground is seen a low 
hill on whose crest is perched a village outhned against a 
warm evening sky. In the shadows of the foreground two 
figures are seen, one resting at the foot of the trees, the other 
standing. 

Canvas. Signed. 
Height, 124 in.; width, 11 in. 
[See Illustration. ] 


ts) 
SCHOOL OF GASPAR POUSSIN. 
LANDSCAPE. 
Canvas. 


Height, 144 in.; width, 20 in. 


60 


NEWMAN (R.L.). 
HARVEST TIME. 


Canvas. Signed. 
Height, 7 in.; width, 10 in. 


No. 55: LANDSCAPE, BY TH. ROUSSEAU. 


61 
ITALIAN SCHOOL. 
ADORATION OF THE MAGI. 


Canvas. 
Height, 18 in.; width, 15 in. 


62 


WILSON (RICHARD). 
-- 1713-1782! 


ITALIAN LANDSCAPE. 


Above a lake hemmed round by verdant hills rises a castle 
at the left crowning a rocky cliff. In the foreground two 
figures are seen, a man dressed in white, standing, a woman 
seated. A fair sky stretches above. 


Canvas. 
Height, 174 in.; width, 214 in. 


[See Illustration. ] 


63 


GAINSBOROUGH (THOMAS). 
1727-1788. 


MISS MARGARET BURR. 


In deep shadow of trees the figure of a young woman is 
seen standing with hands clasped before her. She wears a 
red dress with a white over dress. While Gainsborough was 
painting in a wood one day the figure of Miss Burr crossed 
his line of sight. Without hesitation the lady’s portrait was 
added to the picture and in due course she became the wife 
of the artist. 


Canvas. 
Height, 30 in.; width, 25 in. 


[See Illustration. ] 


loo — 


64 


LATHROP (FRANCIS). 
MADRILENA. 


Standing, the full length figure of a woman is seen dressed 
ot (ts in black and wearing a black mantilla on her head; she looks 
{ “ directly at the spectator. In her hand she holds a black fan. 


Canvas. 
Height, 53 in.; width, 28 in. 
[See Illustration. ] 


65 


GAINSBOROUGH (THOMAS). 
1727-1788. 


GIRL TENDING PIGS. — 


Against a mellow English landscape background, a young 

= girl sits leaning against the foot of a tree watching several 

I S o— pigs feeding from a platter. Gainsborough’s rustic sun- 

ae browned children were drawn directly from nature and his 
landscapes were faithful transcripts of rural England. 


Canvas. 
Height, 40 in.; width, 48 in. 


66 


ROBUSTI (JACOPO) called TINTORETTO. 
1518-1594. 
MOTHER AND CHILD. 


Seated in a rude stable the mother bends over the holy 
child lying on her blue mantle which is spreal over the 
straw. With her left arm she draws the infant close to her 
and with the right lifts away a veil from his face. She 
wears a red robe and a white scarf covers her head and shoul- 
ders. Through the opening at the left, beyond the quiet 
landscape, the sun rising above the hills sends forth a flood 
of hight, against which is seen a small classic temple. 


Canvas. 

Height, 50 in.; width, 53 in. 

Exhibited at the Museum of Fine Arts, Boston. 
[See Illustration. ] 


PORTRAIT OF WYATT EATON. 


67 
HOBBEMA (M.). (Attributed.) _ 


LANDSCAPE IN HOLLAND. 


Under the trees a roadway curves away from the fore- 
ground toward a mill at the riverside. A man passes down 
the roadway. Beyond the road at the right a red-roofed 
house is seen, and still further beyond lie meadows in the a 
summer sunlight. if Ses 


Canvas. 
Height, 33 in.; width, 45 in. 


68 
DUTCH SCHOOL OF 17TH CENTURY. 


BATTLE SCENE. 


Canvas. 30 Te 
Height, 18 in.; width, 25 in. 


69 
WEIR (J. ALDEN). 


Contemporary American Artist. 


Canvas. 
Height, 31 in.; width, 18 in. 


70 


VANDER ULFT (JACOB). | 
Duteh School, 1627-1697. 


ARCHITECTURAL SUBJECT WITH FIGURES. 


Canvas. 
Height, 16 in.; width, 12 in. 


71 
WEIR (J. ALDEN). 
BLIND FLOWER SELLER. 


Canvas. 
Height, 40 in.; width, 22 in. 


72 
POOLE (J.). 


GLENCOE, SCOTLAND. 


Canvas. ; 
Height, 27 in.; width, 36 in. 


73 
REYNOLDS (SIR JOSHUA). 
1723-1792. 


MASTER CHARLES KENDALL WHEN ONE YEAR OLD. 


Seated on a red velvet cushion, the chubby fair-haired 
child is seen in a white robe which falls away revealing the 
half-nude figure. Above, through a cues window, Is 
seen a tree against the sky. 

‘The picture was painted in 1744 when Reynolds was 
twenty-one years old, accOreine to the attestation on the 
back of the canvas. 


Canvas. 
Height, 30 in.; width, 25 in. 


GA 
SPANISH SCHOOL. 


PORTRAIT OF A SPANISH COURT LADY. 


In a richly embroidered Court dress a woman stands with 
her right hand resting on the back of a red chair, and looks 
directly at the spectator. Her hair is elaborately dressed 
and falls low over the ears. . A. wide ruff encircles her neck 
and her dress is extended over crinoline. In her left hand 
she holds a fan. A red curtain falls across the background. 


Canvas. 
Height,'80 in.; width, 42 in. 


6s 
LATHROP (FRANCIS). 


IVORY CRUCIFIX WITH EBONY CROSS AND BASE. 


Height, 334 inches. 


SECOND EVENING’S SALE 
ee Aor bth, 1911, at-8.30 o'clock 


TO BE HELD AT 


THE ANDERSON GALLERIES 


MADISON AVENUE AT FoRTIETH STREET, NEW YORK. 


76 
LATHROP (FRANCIS). 
DESIGN FOR MEMORIAL WINDOW. 


+ 
Photo-prints and drawing. | Odd 


Nos. 76 to 102 inclusive are the work of Francis Lathrop. 


77 
IBLONG CHARCOAL DRAWINGS. 


Decorative panels for a ball room. (2) 


78 


JHARCOAL DRAWING. 


Decoration for a music room. 


79 


DESIGN FOR MEMORIAL WINDOW. 


Introducing a photo-print of “Seek ye out the book of “~ 
the Lord and read.” 


80 
LATHROP (FRANCIS). 
SPUD y: 


For the decoration of the interior of the Marble Col- 
legiate Church, Fifth Avenue, New York. 


Height, 18 in.; width, 23 in. 


81 


CHARCOAL DRAWING FOR CHILING PANEL. 
Girl Dancing, attended by three cupids. 


82 
SIX ROLLS OF DRAWINGS AND CARTOONS. 


83 


TWO DRAWINGS FOR MURAL DECORATIONS. 
Dated 1903. 


84 
LUNETTE—CHARCOAL DRAWING. 


Children with fruit and garland. 


85 
LUNETTE—CARTOON, 


Children with fruit and garland. 


86 
TWO CHARCOAL DRAWINGS. 


Single figures kneeling; Studies for the composition 
“Christ Healing the Sick.” 


No. 57: THE QuaRRy, By DIAZ. 


_ “SEEK YE OUT THE BOOK OF THE LORD AND READ.” 3 2 - 


87 
LATHROP (FRANCIS). 


TRIPLEX DESIGN FOR MEMORIAL WINDOW. 


Christ. Healing the Sick. ee ames 
Oil study framed and glazed. ig) ner 


Canvas. 
Height, 27 in.; width, 28 in. 


88 


SET OF FIVE FRAMED CRAYON DRAWINGS. - 


Studies for the Mural Decoration in St. Bartholomew’s C as 
Church, New York. 


89 
SET OF FOUR ARCHITECTURAL DRAWINGS IN 
COLOR. (2 
Project for a foyer and staircase of a theater. V OAN, 
90 


Cartoon in color for Memorial Window. 


91 


o/\ 
t 


CHRIST TRIUMPHING OVER THE WORLD. 


92 


“LORD, NOW LETTEST THOU THY SERVANT DEPART 


IN PEACE.” a eyes 


Cartoon in color for Church decoration. i 


LATHROP (FR 
| CHRIST HEALING THE SICK. 


_ Large Cartoon. fee henge n 
ree =a Si RyeOee: eeaaaga ae ; 


DECORATIVE FIGURE STUDIES. 


ay oil colors on gilt background. 


LUN BITTE: APOLLO. 


Decoration in sa for: a music room. 


| | 26 : 
TWO CARTOONS FOR MEMORIAL WINDo : 


“Jonathan” and “David. z 


97 Sina 
TWO CARTOONS FOR MEMORIAL WINDOWS. 


~ Woman with staff of lilies, holding a cross. 
with a book, an angel standing behind him. 


. arn 
, et ME wk 
, 2 . hea “hain 
4 
98 > > nt sy 
“' 9 ow ¢ ‘~ 


|, CHRIST IN GLORY. 


| | Oil study for a church decoration. 


99 
LATHROP (FRANCIS). 
TWO CHARCOAL DRAWINGS. | ee | 


For Memorial Windows—“Jonathan” and “David.” (2) 


100 
CHARCOAL DRAWINGS. 


Small upright panels showing female figures symboliz-- | — 
ing the seasons. (9) 


101 


PROJECT FOR DECORATION OF ALTAR AND RERE- 
DOS. 


“The Son of Man coming in a cloud with great power and e _ 
glory. Then shall he send forth his angels and shall gather 
together his elect.” 


102 


CHRIST IN GLORY. 


Cartoon for church decoration. 


ts 
\ 


103 


DUVRIEUR (H.). 
French School, 19th Century. 
Pupil of Decamps. 


The Paintings No. 103 to No. 123 inclusive are the property of Mr. 
H. A. Hammond Smith, who was long associated with Mr. Lathrop in 
his work. Most of the paintings were obtained during Mr. Lathrop’s 
lifetime and with his co-operation. 


VENETIAN SCENE. 


Canvas. 
Height, 64 in.; width, 84 in. 


Ky 


16 tose 


_ 


b 


104 
NEWMAN (R. L.). 


CHRIST AND THE APOSTLES. 


Canvas. 
Height, 10 in.; width, 14 in. 


105 


ELLIOTT (CHARLES LORING). 
1812-1868. 


SCENE FROM DIEDRICK KNICKERBOCKER’S 
TORY OF NEW YORK. 


Canvas. 
Height, 12 in.; width, 10 in. 


106 


A. G : 
French School, Early 19th Century. 


_. STUDY OF A MAN. 


Panel. Signed. 
Height, 104 in.; width, 84 in. 


107 


DUTCH SCHOOL OF 17TH CENTURY. 


=~ FORTRAIT OF A MAN WITH 2 RUG 


Canvas. 
Height, 84 in.; width, 64 in. 


HIS- 


108 
SPANISH SCHOOL OF 17TH CENTURY. 


GAMBLERS. en ee 


Canvas. 
Height, 13 in.; width, 17 in. 


109 
SPRANGER (BARTHOLOMEW). (School of.) 


an 
PAINTERS AND SCULPTORS AT THE BASE OF THE AA Vo 
STATUE OF MERCURY. 


Panel. 
Height, 144 in.; width, 10 in. 


110 
ENGLISH SCHOOL OF 19TH CENTURY. 


CASTLE GANDOLFO, NEAR ROME. SM eugon 


The Summer Home of the Popes. 
Canvas. 
Height, 6in.; width, 94 in. 


ele 


VAN DER MEER (JAN), THE YOUNGER. 
1656-1705. 


LANDSCAPE WITH FIGURES HERDING SHEEP BE-—7 es 
FORE A STORM. j ASO 


Panel. Signed. 
Height, 74 in.; width, 124 in. 


112 


CAMPHUYSEN (RAPHAEL). 
1598-1627. 


ap ARCHITECTURAL STUDY WITH FIGURES. 
mS) —_ ; Z , hae > 


Canvas. 
Height, 154 in, swidth wi2s im. 


[See Illustration. ] 


113 


CORNELISZ OF HARLEM. 
- 1562-1687. 7 


LANDSCAPE WITH FIGURES. 


Circular. *: Diam: 10m. 


114 
EK. L. WATKINS. 


SLE BEES Da 


Canvas. 
Height, 10 in.; width, 18 in. 


115. 
UNKNOWN ARTIST. 


THE BAPTISM OF CHRIST, 


On Copper. 
Height, 134 in.; width, 11 in. 


BuRR, BY GAINSBOROUGH. 


pred ed sel a Phlier 5 


116 
DUTCH SCHOOL OF 17TH CENTURY. 


A VASE OF FLOWERS. 


Canvas. 
Height, 29 in.; width, 23 in. 


AO — 


117 
‘TIEPOLO (GIOVANNI BAPTISTA). 


ADORATION OF THE MAGI. 


Canvas. | / 
Height, 21 in.; width, 16 in. 


[See Illustration. ] 


a) 
) 


118 


ESPINOSA. (Ascribed.) 
Spanish School, 1600-1680. 


oT. ANTHONY OF PADUA. ey 


119 
ITALIAN SCHOOL MIDDLE OF 16TH CENTURY. 


THE HOLY FAMILY. 


Panel. ae 
Height, 43 in.; width, 303 in. 


[See Illustration. ] 


120 
FLEMISH SCHOOL OF 17TH CENTURY. 


ROMAN SOLDIER PLACING THE CROWN OF TE OH Na 
ON THE HEAD OF CHRIST. 


aS — Canvas. 
- Height, 60 in.; width, 36 in. 


121 
ITALIAN SCHOOL EARLY 18TH CENTURY. 


‘RUINS WITH FIGURES. 


Sf— Canvas. 
Height, 35 in.; width, 45 in. 


122 ¢ ‘ 
CALLIARI (CARLO). (Attributed.) 


EUROPA. 


ee: Canvas. 
Height, 77 in.; width, 37 in. 


ox 


123 
BYZANTINE SCHOOL. 


MADONNA AND CHILD. 


be RAS Panel. 
Height, 124 in.; width, 104 in. 


No. 64: 


MADRILENA, BY LATHROP. 


124 


TWACHTMAN (JOHN H.). 
PASTEL STUDY AT GREENWICH. 


Height, 15 in.; width, 18 in. 
125 
NEWMAN (R. L.). 


WOMAN KNEELING. 


Canvas. 
Height, 10 in.; width, 14 in. 


126 
LATHROP (FRANCIS), After Botticelli. 


ANGELS IN FLIGHT. 


Water-color. 
Height, 12 in.; width, 9 in. 


127 


NEWMAN (R. L.). 


Contemporary American Painter. 


BOY IN A FIELD. 


Panel. Signed. ka Tipe 
Height, 7 in.; width, 11 in. 


128 
LATHROP (FRANCIS), After Giorgione. 


A CONCERT. | Ke 


Water-color study. 
Height, 7 in.; width, 10 in. 


129 


NEWMAN (R. L.). 


Contemporary American Painter. 


A GROUP OF CHILDREN PLAYING. 


Canvas. Signed. 
Height, 8 in.; width, 10 in. 


on 


130 
ENGLISH SCHOOL. 


LANDSCAPE IN SUFFOLK. 


Panel. 
Height, 6. in.; width, 93 in. 


40 ie 


131 
OWEN (M. A.). 


WOMAN RECLINING. 


Panel. Signed and dated 1846. 
Height, 18 in.; width, 24 in. 


132 
NEWMAN (R. L.). 


WOMAN AND CHILD CONSULTING A SYBIL. 


ae A sketch. 
Height, 12 in,; width, 16 in. 


133 
LA FARGE (JOHN). 


SUNSET. 


Canvas. 
Height, 12 in.; width, 14 in. 


134. 
ROSA (SALVATOR). 
1615-1678. 
A PILGRIM. 
Canvas. 


Height, 192 in.; width, 14 in. 


135 


SPANISH SCHOOL OF 17TH CENTURY. 


THE MADONNA IN GLORY. 


With penitents at the foot of the throne. 
Canvas. 
Height, 30 in.; width, 18 in. 


136 


Height 24 ins wih 3 in 
“AKU AXf : : QL As bet Ve; y LLL ke V4 
<\ Bi | iat 


fy) ; off 
Y aA ft) 1 i) j p 
ANY CXL LA OK 


lore 


AS — 


137 
LATHROP (FRANCIS). 


DECORATIVE FRIEZE FOR MUSIC ROOM. 


Nine panels in oil colors showing figures and arabesques. 
Nos. 137-141 are the work of Francis Lathrop. 


138 


LARGE CARTOON IN OIL. 
For the Mural Decoration in St. Bartholomew’s Giareee 
New York. 


THIRD EVENING’S SALE 
Thursday, April 6th, 1911, at 8.80 o'clock 


TO BE HELD AT 
THE ANDERSON GALLERIES 


12 Hast 46TH STREET 


139. FRANCIS LATHROP. Relief and Painted Decoration 
for a Frieze. 


140. DECORATIVE SCHEMES ON WOODEN PANELS. 
By E. Ei. Garnsey and F. Lathrop. (2 pieces) 


141. LATHROP (FRANCIS). Decorative  PatnrTep 
Pane. A Satyr. 


142. TRACING BOOKS. Containing about 400 orternat 


PENCIL, INK, AND WATER-COLOR SKETCHES of birds, trees, ani- 
mals, flowers, views, characters, nudes, etc. 3 vols., folio, 
wrappers. 


1438. E. MEYER. By tHe Firestpe; River ScENE. 'T'wo un- 
framed paintings. Canvas. Signed. Height, 12 in.; width, 18 
- in. 


144. FRANCIS LATHROP. Head of a Cardinal. Copy of 
the painting by Velasquez in the Spanish Museum, New York. 
Canvas. Height, 25 in.; width, 20 in. 


145. J. B. C. COROT. (Attributed). Study of Trees on a 
River Bank. Panel. Signed. Height, 12 in.; width, 17 in. 


146. UNKNOWN ARTIST. Copy of Ceiling Decoration by 
Tiepolo. Oval decoration representing the Coronation of the 
Virgin. Canvas. Height, 63 in.; width, 39 in. 


147. FRANCIS LATHROP. Copy of a Ceiling Decoration 
by Tiepolo. Canvas. Height, 31 in.; width, 25 in. 


as val 
he 


: P 
fut. a r 
f= gm HS 


COLLECTION OF PHOTOGRAPHS 


A Valuable Collection of Several Thousand Photographs. 


gs 148. BUNDLE OF 30 to 40 large mounted photographs from 
paintings by Giotto, Ghirlandajo and Fra Angelico. 
2.56 149. THE SAME from paintings of Raphael, Perugino and 
Pintorricchio. } 
BAe s 150. THE SAME from paintings of Dutch and Flemish 
painters. 
3 So 151. THE SAME from works of Dutch and Flemish painters. 
3:-L0 152. THE SAME from works of Rembrandt and Followers. 
3 - 153. THE SAME from Mosaics, etc. 
leo 154. THE SAME from Antique Sculpture. 
Sc 155. THE SAME from works by Michael Angelo. 
wlag iid 156. THE SAME from paintings by Leonardo, Sodoma, Bot- 
; / | ticelli, Lippi, Mantegna and Signorelli. 
} Yo © 15%. THE SAME from paintings by German masters. 
EAGe 158. THE SAME from paintings by German masters. 
159. THE SAME from paintings by Rubens and Van Dyck. 
Lp Ge 160. THE SAME from paintings by Rembrandt. 


161. THE SAME from paintings by miscellaneous Italian 
painters. 


Lippe 162. THE SAME from French, English and modern paint- 
ings. 


163. THE 
paintings. 


164. THE 


165. THE 
~ers. 


166. THE 


167. THE 
168. THE 
169. THE 
170. THE 
171. THE 
172. THE 


173. THE 


174. THE 
175. THE 
2 176. THE 
Vee. PELE 
178. THE 
Uo Res sO 
180. THE 


181. THE 


Photographs. 


SAME from other French, English and modern 


SAME from romantic sculptures. 


SAME from Giorgione and early Venetian paint- 


SAME from the works of Titian. 


SAME from the works of Tintoretto. 


SAME from works of Tiepolo. 


from miscellaneous Florentine works. 


SAME 


SAME from works by Umbrian artists. 


SAME from paintings by Titian. 


SAME from paintings by Giorgione and others. 


SAME from paintings by Paolo Veronese. 


SAME from Venetian miscellaneous works. 


SAME from paintings by Tintoretto. 


SAME 


from miscellaneous Venetian painters. 


SAME from Spanish cities. 


SAME from miscellaneous works. 


SAME from miscellaneous works. 


miscellaneous works. 


SAME from 


miscellaneous works. 


SAME from 


Ge 189 
Ht smith 2198 
S— 484 


2-50 187 
[fo 188 
3:So 189. 
Be eae 
3-¥o 191. 
|} SO 492. 
SO 193. 
} SO 194. 


: ee 


oe | Age 


198. 


‘Vo 199. 


. 200. 


201. 


BO 197, 


Photographs. 


. THE SAME from iiseellameoee ee | a 
. THE SAME from paintings by Veronese. 

. THE SAME from miscellaneous works. 

» THE SAME from miscellaneous works. 

. THE SAME from paintings by Massaccio. 

eee SAME from paintings by Verrochio and Leonardo. 


. THE SAME from miscellaneous works. 


THE SAME from paintings by Fra Angelico. 


THE SAME from paintings by Pierro della Francesco 


and Melagzy 


THE SAME from paintings by Botticelh. 
THE SAME from paintings by Michael Angelo. 
THE SAME from paintings by Fra Lippo Lippi. 
THE SAME from paintings by Mantegna. 


THE SAME from paintings by Giotto. 


THE SAME from paintings by Giotteschi.. 

THE SAME from paintings by Signorelli. 

THE SAME be Rendoeete Sculpture. 

THE SAME from Modem Sculpture. 

THE SAME from ae by Rubens and Van Dyck. 


ROLL from the Sistine Chapel Decorations. 


No. 66: McTHEerR AND CHILD, BY TINTORETTO. 


og Se ee 


7 Photographs. 


202. PHOTOGRAPHIC Nude Life Studies for Use of Sculp- 
tors and Painters—German. About 500 pieces. 


203. ANOTHER similar, of French production. About 500 
pieces. 


204. PHOTOGRAPHIC Studies of Animals. About 300 to 
500 pieces. 


205. 45 BUNDLES of Photographs of medium size, each 
containing 40 to 50 prints and marked to designate the subjects 
contained therein. 


206. 40 MORE Packages of same character, not wrapped, but 
marked French, English, Florence, ete., numbering about 2,000 
separate prints. 


207. GHIBERTI (LORENZO). The Door of the Baptistery 


of Florence. A magnificent and unusually large photograph. 


208. DURER (ALBERT). A very large photogravure, proof 
on India paper, from the painting by Diirer representing Jesus. 
Folio. 


209. BELLINI (GIOVANNI). Virgin and Child. A very 
large photograph from the painting in the Church of the Re- 


_dentore in Venice, ascribed to Giovanni Bellini. 


210. DRAWINGS BY CELEBRATED PAINTERS. 15 
photographs from original drawings by 'Tintoretto, Durer, Man- 
tegna, Piazzetta, 'T'addeo Gaddi, Fra Filippo Lippi, Michael- 
angelo and Botticelli. 15 pieces mounted. on stiff paper. 


211. HOLBEIN (HANS). A very large and beautifully 
executed photograph from the portrait of Georg Gyse painted 
by Holbein, and now in the Berlin Gallery. Mounted on cloth. 


212. ITALIAN MASTERS. 6 photographs from paintings 
by Botticelli, Tintoretto, Giorgione, Masaccio and Tiziano. 6 
pieces large folio, mounted on boards. 


a a a, ee ee 


Photographs. 


213. MICHAELANGELO. Two very large photographs 
from the famous paintings of the Last Judgment in the Sistine 
Chapel and the Assumption of the Virgin. 2 pieces, mounted 
on boards. 3 | 


214. TITIAN. Philip II. 2 photographs from the paintings 
of ‘Titian. 2 pieces folio, mounted on boards. 


215. Venus Asleep. A very large photograph from the 
celebrated painting by Titian. 


216. Two very large photographs from the paintings 
by Titian representing the Entombment and the Three Graces. 
3 eee : 

2 pieces. 


21%. CELEBRATED MASTERS. 33 fine photogravures 
from masterpieces of paintings by Holbein, Giovanni Bellini, 
Rembrandt, Sir Joshua Reynolds, etc., in the National Gallery 
of London, Grosvenor House, ete. 33 pieces, large folio. 


SIGNED WORKS IN COLOR 
OF THE | 7 


.PAINTER-ENGRAVERS OF FRANCE AND GERMANY 


218. BESNARD (PAUL ALBERT). La Fin de,Tout. 
Htching. Sicnep proor No. 6 of a very limited impression. 
4to. jee 


219. BIESE (CARL). Five Landscapes. Original litho- 
graphs in colors. Printed only in a very limited issue. Four 
are signed proofs. Folio and smaller. (5) 


Stamped by the “Deutsche Kiinstlerbund.” 


220. BOUTET DE MONVEL (BERNARD). Les Haleurs. 
Two men drawing a barge along a canal. PRINTED IN COLORS. 
No. 22 of 30 proofs issued, signed by the artist. Folio. 


Qa1. Jeune Homme. _ A young man standing by a win- 
dow. PRINTED IN coLors. First State. Signed by the artist. 
1898. +5 


(222. CASSATT (MARY). Avant le Bain. A Mother and 


Child. Dry-point etching PRINTED IN COLORS. VERY RARE, 
ONLY 48 PRINTED, this being No. 38, and only ten copies for 
public sale. With the etcher’s stamp and signature. Folio. 


223. DETOUCHE (HENRI). Muchola. A Spanish woman 
dancing with castanets. ETCHING PRINTED IN THREE COLORS. 
Only 35 proofs printed, this being No, 4, signed. 


224. DETOUT (1L.). Féte de Neuilly: Intérieur Forain. 
Interior of a travelling show. Prinrep IN conors. Folio. 


225. GODIN (GEORGES). Féte Vénitienne. PRINTED IN 
cotors. Proof on satin signed by the artist. Folio. 


iy 4G 


Cr 


French and German Color Prints. , 3 


226. GODIN (GEORGES). Pont St. Michel. No. 4 of only — 
5 proofs, on Japan paper; Effet de lune; No. 6 of 15 proofs. 
Both PRINTED IN COLORS oe signed by the artist. Se. 


227. La Pointe du Rat. No. 5 of 10 proees on Japan 
paper; Port d’Audierne, one of 20 proofs. Both PRINTED IN_ 
coLors and signed by the artist. (2) : | 


228. GRETHE (CARLOS). A night scene in a lighted 
street, printed in dark purple and gold on blue paper; Night | 
scene on a river, printed in black and silver on blue paper, 
signed. BotTH proors. (2) 


229. GUERIN (CHARLES). Narcisse: Orphée; ete. Im- 
pressionist pictures in flat neutral tints. Sra@NEpD PRooFs. 7, 


different. ot ie 
By one of tke most distinguished artists of the “Deutsche 
Kiinstlerbund.” 


230. HAAS (HERMANN). Landscapes. Woop-ENGRAV- 
INGS PRINTED IN cCoLors. Signed proofs. (3) 


231. HELLEU (PAUL). Dry-point etching: a woman 
seated facing a fire, another on the right seen in profile. S1I@NED 
PROOF, ONLY TWO OR THREE PROOFS TAKEN. 4to. 


232. Dry-point etching: a woman seated on the ground 
in front of a fire-place, both hands holding a screen. SIGNED 
PROOF, ONE OF 10 TAKEN. Folio. 


233. Dry-point etching: a large stand filled with flow- 
ers, behind a .woman turned to the right, partly in profile. 
SIGNED PROOF, ONE OF 20 TAKEN. 


234. JEANNINOT (PIERRE-GEORGES). Sur la plage. 
Women bathers on a sea-shore. DRyY-POINT PRINTED IN COLORS. 
No. 1 oF ONLY 25 PRooFS. SIGNED BY THE ARTIST. Folio. 


35. JOURDAIN (FRANCIS). La Femme aux lapins, No. 
{ 30 proofs; Naguére, No. 3 of 25 proofs; La Modele, No. 9 
of 30 proofs. PRINTED IN CoLoRs, and signed by the artist. (3) 


French and German Color Prints. 


236. KALLMORGEN (FR.). Sommerabend; Ausgang der 
Fiord; St. Katharine, Hamburg. LirHoGRAPHS PRINTED IN 
cotors. ‘The first two signed. (3) 


rocky river-side, signed proof; Farmhouse in winter at night, 
lithograph in colors. The first stamped by the “Deutsche 
Kiinstlerbund.” (2) , | 


238. LEPERE (AUGUSTE). Bassin des Tuileries, View 
on the Seine, Paris. WooD-ENGRAVINGS PRINTED IN COLOR. 
Both signed proofs. (2) 


239. LUNOIS (ALEXANDRE). A Spanish Dancer Seated. 
Lithograph. No. 28 oF A FEW SIGNED PROOFS PRINTED I 
cotors. Folio. | 


240. Retour de la Chasse. Lithograph. PRINTED IN 
coors. Signed proof No. 25. | 


_ 241. Jeune Femme a la Fenetre; Penumbre; and two 
others. Lithographs PRINTED IN coLors. Signed proofs. (4) 


242. MULLER (ALFRED). A Country Lane in Winter. 
DRY-POINT PRINTED IN coLors. Signed proof printed by the 
artist. 


243. 


Le Songe d’Annunzio. Dry-POINT IN COLOR. 
Signed proof. 


244. Barges on a River at Sunset. DRY-POINT IN 
coLors. Signed proof. 


245. Three Women Dancing in a Wood, and another. 
SIGNED PROOFS PRINTED IN coLors. Folio. (2) 


246. NEUMANN (E.). Frou-Frou, and, Sommer-abend. 
Wood-engravings PRINTED IN COLORS. SIGNED PROOFS. (2) 


247. PINCHON. Huntsman and Dogs, Signed proof; The 
Camel, No. 10 of 25 signed proofs. Boru PRINTED IN COLORS. 


(2) 


237. KAMPMANN (G.). Dry-point in colors—Trees by a : 


6 - 


French and German Color Prints. 


248. MARTIN (HENRI). Dante Meeting Beatrice. Lrrwo- 


GRAPH IN coLors.. Only a very few printed. Beatrice. 


 Litho- 
eee in black and white by the same. (2) ye 


249. MAURIN (CHARLES). Sortie du Bain.’ Dry-pornt 
PRINTED IN COLORS. Signed proof. No. 11 of 50 printed: 3 
250. V’Enfant au ruban rose. PRIntep IN COLORS. 


Signed proof No. 14 of 50 printed. 


251. A Woman Nude. Dry-point. 


Full - length. 
SIGNED JAPAN VELLUM PROOF. 


252. DELATRE (EUGENE, A.). Canen Gouché. PRINTED | 
IN cotors. Signed and stamped proof, noted as “ep. Vessai.” 


253. KLUTZ (E.). 
IN COLORS. 


Satyrs and Nymphs. ErcHine PRINTED 
Signed proof on India paper. 

254. HOUDARD (CHARLES). 
PRINTED IN COLORS. 


Le Jardin de ma Tante. ) 
Signed proof No. 11 of only 40 printed. 


255. RANFT (RICHARD). 
side of a river. 
40 to 50 issued. 


Four women bathers by the 
PRINTED IN coLors. Signed proof marked No. 


256. 


Men and women seated and standing on the bank | 


of a river watching a boat race. Prinrep rN cotors. Signed 
proof marked No. 2. i 
257. —— Girl and Dog. Dry-POINT PRINTED IN COLORS. 


Signed proof marked No. 19 of 50 issued. a 


258. La Neige. A Village in Winter. Prrntep IN 
COLORS. Bae proof marked “Epreuve d’Etat.” 

259, I’Etoile (A Prima-Donna), and two other scenes 
with ballet dancers. All signed proofs. PRINTED IN: COLORS. 
(3) : 

260. —— L’Automne en Marne: les Canotiers. PRINTED IN 
cotors. Signed proof No. 38 of 50 issued. 


a ee. 


ee 


ey . No. 112: ARCHITECTURAL STUDY WITH FIGURES, BY CAMPHUYSEN. 


x Ae } , 


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French and German Color Prints. 


261. RANFT (RICHARD). Le Bal Paré. PRINTED IN coL- 
ors. Signed proof marked “Epreuve d’état.” 


262: Féte Vénitienne. PRINTED IN coLors. Signed 
proof marked No. 4. 


263. Cour de Ferme dans le Jura. PRINTED IN COLORS. 
Signed proof marked No. 5. 'The same with a glowing sun 
effect. Signed proof marked No. 13 of 50. 


264. Les Sables d’Olonne. PRINTED IN coLors. Signed 
proof marked No. 1 of 30. 


265. ROBBE (MANUEL). Le Thé. PRINTED IN coLors. 
Signed proof. (Of this and the following only a very small num- 
_ber were printed. See an article in the Studio, December, 1902.) 


266. Au Jardin. PRINTED IN coLOoRS—moonlight effect. 
Signed proof. Rare in this color. 


267. —— The same. PRINTED IN coLors—sunlight effect. 
Proof. 

268. —— L’Enterrement.. PRINTED IN coLors. Signed 
proof. 


One of his most famous pieces, exhibited at the Exposition 
of 1900. Rare. 


269. —— La Belle Estampe. PRINTED IN coLors. Signed 
proof. 
270. —— A Woman facing to right, and holding a print. 


PRINTED IN CoLors. Signed proof. 


e711. A Village Street by moonlight. PRINTED IN COL- 
ors. Signed proof. 


R72. Houdelaincourt (Effet du Matin). PRINTED IN 
cotors. Marked at the bottom “Epreuve Unique de ce ton.” 


273. - A Woman with a fan seated, leaning back on a 
divan. PRINTED IN coLors. Signed proof. 


he he Re ee bp raced Mae a ead CL te a Sea ated i rg genes $ 
fd es ‘ y = -f - “¢ Bes AG 
é ite aus ; Pune ise de # pa) 2G _ 7 ey a 7 


J, 


French and German Color Prints. 


ee: 274. ROBBE (MANUEL). La Balancoire. Prryrep IN | 


coLors. Signed proof. 


a fo BVO. Studies of Nudes: Two women in a wood, and an- 
, other seated seen from the back. Both signed proofs. (2) 


4. (7 276. LUNOIS (ALEXANDRE). A Spanish Dancer fixing — | 
*4O her slipper. Lithograph in colors in imitation of a pastel. 
SIGNED PROOF. | 


Lf Ne 277. —— Une Fete de Nuit sur le Quadalquiver. LirHo- 
GRAPH IN coLors. SrGNED PRooF. A very few printed. 


ye : 278. BEJOT (EUGENE). De Paris 8 Charenton. View of 
~ the Seine. ErcHine PRINTED IN cotors. No. 4 of a very 
limited number of signed proofs. . 


Bea 279. HOCH (FRANZ). Lithographs in Color: Ruine im, 
4: {  Thale, Buck im Winter, and, Morgen im Hochgeberg. SIGNED 
proors. Large folio. (3) | 


280. LITHOGRAPHS. PAINTER LITHOGRAPHS IN COLORS — 
g —_ by Franz Hein, Heine Rath, Langbein and Fraam Nager. 
SIGNED PROOFS. (5) 


rd 


En Bretagne, by Wery: Holland, by H. Cassiers: 


2.6 281. 
“© — Noliane Tangere, by Albert Krueger, etc. PrinrEp IN CoLoRs. 
(10) } 
mee 282. VOLKMANN (HANS VON). Original painter litho- 


graphs—landscapes, IN coLors. EHight different, seven being © 
signed proofs. (8) 


~ 


bh 283. THOMA (HANS). St. George. Original painter- 
lithograph PRINTED IN COLOR AND SILVER. Signed proof. 


284. COLOR PRINTS. Landscape by Morley S. Fletcher, 
~~ EYCHING IN COLORS, SIGNED PROOF; Guy Fawkes, woopcuT IN 
cotors by G. S. Smithard. S1GNED PROOF: and another. (3) 


French and German Color Prints. 


285. COLOR PRINTS. A Nude Woman Seated. Srenep 
PROOF: Les Bicyclistes,eETCHING IN coLOR by Legrand, proof, 47 
printed: Dans les Bois, by Grasset: Satyr and Woman, by Berch- 
mans. SIGNED PROOF; and two others. (6) 


286. CHAHINEH, RANFT, Etc. Circulars and Cards of Ed. 
Sagot, art-publisher, Paris, containing original etchings, dry- 
points and color prints by Edgar Chahine, Ranft, Lunois, ete. 
(10) 


287. WATTHAU. The Departure for Cytherea. Photo- 
graphed from the original and PRINTED IN cCoLOoRS. Sm. 4to. 


288. FRESCO IN THE LOUVRE, by Botticelli. Copy in 
water-colors of a Fresco, on the back of which is written a note 
addressed to Mr. Lathrop: “J send you a copy I made of an old 
fresco in the Louvre. It was on a dimly lighted staircase, but I 
think the color is all right.” J. W. Finn. 17 x 224 in. 


289. PHO'TOGRAPHS. Sacred and Profane Love by Titian: 
The Man with the Sword, and another. Very large photographs 
direct from the original paintings. (3) 


290. POSTERS. Incolor. Folio and smaller. 13 pieces. 


291. FRESCOS. Platinotype reproductions of allegorical 
paintings, the first representing Egypt and Assyria in conflict 
and bending the nations beneath the yoke, another represents the 
sacred bull Apis as an idol, the third combining the figures of 
Egypt with Astarte and symbols. Each about 23x16 in. Also 
photograph of a sculpture “The Angel at the Sepulchre,” by 
H. D. Palmer. (4) 


292. RAPHAEL. The Sistine Madonna. Very large photo- 
graph direct from the original painting. Backed with linen. 
35 x 28 in. 


293. TIHPOLO -(DOMENICO,—the son of the famous 
painter, and a well known and distinguished painter himself). 11 
original drawings in pen and ink, tinted with sepia. 6 of them 
are various studies for a painting intended to represent the Bap- 
tism of Christ. All with autograph signature of the painter with 
the exception of three. Mounted in mats. 


A fine and interesting lot. 


i 


Fis © Bepaet 


AW 


LA} 


294. DRAWINGS FOR STAINED GLASS WINDOWS: A 
COLLECTION OF ORIGINAL DRAWINGS, mainly of stained glass win- 
_dows. 60 pieces) en 


The above and the 9 following lots comprise a very valuable 


and most useful collection of original drawings, MADE BY — . 


Francis Larurop, from church and cathedral windows in 
various pats of the world, others being his own conceptions. 
They comprise drawings in color, chalk, water color, sepia, and 
pencil, while a few are merely outline. A large proportion are 
“in color. Many are laid down, a few are in sunken mats, 
others are unmounted. Folio to 12mo. Many have scale meas- 
urements. [Not returnable. ] : 


See eam A similar collection. 60 pieces. 
296. ——— A similar collection. 60 pieces. ‘i 
297. —— A similar collection. 58 pieces, 
298. —— A similar collection. 58 pieces. 
299. —— A similar ‘gollecHion 55 pieces 
300. —— A similar collection. 58 pieces. 
30]. ——— A similar collection. 54 pieces. 
302. —— A similar collection. 44 Aiea 
303. —— A similar collection. 40 pieces. 


304. SPANISH SCHOOL OF PAINTING. 17 Ra coed 
from paintings by Morales, Coello, Greco, Zurbaran, Ribalta, and 
others. 17 pieces folio, mounted on cloth. 


305. RUBENS. 2 very large photographs from paintings by 
Rubens. 2 pieces mounted on auonrtes 


306. RAPHAEL OF URBINO. Three very large photo- 
graphs of the famous paintings in the Vatican by Raphael, repre- 
senting the Parnassus, the Dispute of the Sacrament, and Philo- 
sophical Dispute. 3 pieces, mounted on boards. 


Bets Seg 


No. 117: ADORATION OF THE Maat, By TIEPOLO, 


307. REMBRANDT. A very large and beautifully executed 
photograph from the portrait of Rembrandt executed by himself. 
Mounted on linen. 


308. REMBRANDT. A very large photograph from his 
portrait, with cap and feathers, painted by himself. Mounted 
on board. 


309. REMBRANDT. Photogravuren nach Gemialden von 
Rembrandt in der Galerie zu Berlin. 18 very fine photogravures 
from paintings by Rembrandt in the Berlin Gallery. Large 
folio, stiff paper portfolio, with ties. Berlin, n.d. 


310. PRINTS, SKETCHES, Etc. About 300 prints, Orig- 
inal Sketches, Engravings, Portraits, etc. 


311. PHOTOGRAPHS. A collection of about 110 pieces, 
paintings, interior decorations, furniture, etc. Mainly mounted. 
Folio and smaller. | 

312. PHOTOGRAPHS, ete. A collection of photographs 
and other reproductions of English and other paintings, ete. 
Folio and smaller. 21 pieces. 


313. MICHAELANGELO. A very large photograph of the 
famous statute of Moses. 


314. LATHROP (FRANCIS). A collection of ORIGINAL 
Drawinas, Sketches of Furniture, Vases, Practice Sketches, ete. 
About 170 pieces. 


315. SPANISH SCHOOL OF PAINTING. Photographs 
from paintings by Goya, Murillo, Zurbaran, Greco, Coello, Cora 
pores. cic, etc, 100. pieces. 


Small folio, and smaller. Nearly all mounted on linen. 
The above and the seven following lots fom an unusual and 
choice collection. 


316. —— Another similar lot. 100 pieces. 


317. Another similar lot. 100 pieces. 


318. —— Another similar lot. 100 pieces. 


A DS 
I S@ 
Res 


ee 
pee 
oo 
ile 


{— 


319. SPANISH SCHOOL OF PAINTING. Another similar 
lot. 100 pieces. eee 


320. —— Apother similar lot. 100 pieces. 
321. —— Another similar lot. 100 pieces. 
322. —— Another similar lot. 100 pieces. 


323. LATHROP (FRANCIS). Decoration. A collection of 
original drawings of ceilings, wall decorations, etc. 60 pieces. 


Lots 323 to 345 comprise a most useful and valuable collec- 
tion of ORIGINAL DRAWINGS BY FRANCIS LATHROP in color, © 
pencil, etc. Included are specimens for furniture, wall decora- 
tions, floors and all branches of interior decoration. Sizes 
folio to 8vo. 


324, ——— A similar collection. 60 pieces. 


)~ 
ee 325. ——- A similar collection. 60 pieces. 
So 326. ——— A similar collection. 49 pieces. 


I+ dO 


a 
90 


Sone 


327. ORIGINAL WATER-COLOR DRAWING for a Rose 
Window, containing figures of Christ and the Evangelists, Saints, 
etc. Folio. Finely executed. 


328. OIL, SKETCH of The Ascension for a mural painting. 
Folio. 2 


329. COLLECTION of OrternaL Warer-Cotor Drawines, 
all designs for Memorial Windows, 4 for single windows, 1 for 3 
pane, and 1 for 2 pane. 8vo. 


330. COLLECTION of Ortetnat Drawings, being sketches 


for memorial windows. One for Capt. Ambrose Snow (in the 
sailor’s snug harbor). One for The Resurrection. One after 
Blake’s Book of Job, ete. Folio. 5 pieces. 

331. ORIGINAL WATER-COLOR DRAWINGS, all for 
memorial windows other than churches. Folio. 4 pieces. 

oe F 

332. ——— A similar collection. 4 pieces. 

333. —— A similar collection. 6 pieces. 

334. ORIGINAL PENCIL DRAWING, The Three Kings 


presenting their gifts to the infant Christ at the stable. Folio. 


335. TWO ORIGINAL WATER-COLOR DRAWINGS of 
the Virgin after Anunciation, one showing color scheme for glass. 
Foho. 


336. ORIGINAL WATER-COLOR DRAWINGS for memo- 
rial windows, 2 for chancel windows, the woman of Samaria, ete. 
Folio. 4 pieces. 


337. A COLLECTION of 7 Orternan Warer-Cotor Draw- 
Ines for memorial windows, including one for Rose window, 
John the Baptist, etc. Folio. , , 


338. BROOKLYN BRIDGE, Forest Scene, Study for Mural 
Decoration, etc. Folio and smaller. All original water-color 
drawings and paintings, some unfinished. 8 pieces. — 


339. COLLECTION of Ortcrvan Warer-Cotor Drawincs 
for memorial windows, 2 for children’s windows, the descent of 
the Holy Ghost, ete. Folio. 5 pieces. 


340. ORIGINAL DRAWINGS, Srupires in THE NupDE (prin- 
cipally). Entire figures, Heads, Arms, Feet, etc. In pencil and 
chalk. A few in colors. Folio, drawing board and paper. 70 
pieces. 


341. ORIGINAL DRAWINGS. Studies in the Nude (prin- 
cipally). Entire figures, Heads, Arms, Feet, ete. In pencil and 
chalk. A few in colors. Folio, drawing board and paper. 95 
pieces. 3 


342. ORIGINAL DRAWINGS. Pencil Sketches of Frescos, 
Tablets, Windows, Doors, etc. 152 pieces, 4to. 


343. ORIGINAL DRAWINGS. Sketches of Child Life, 
Frescos, Doors, Windows, ete. Copies of famous Sculptures, and 
others of similar nature. 125 pieces. 


344. COLLECTION of Oriainat Drawings of Birds, Flow- 
ers, and other Natural Life. Sketches of famous Sculptures, 
Doors, Windows, etc. 125 pieces. 


345. ORIGINAL DRAWINGS. Studies of the Nude (prin- 
eipally). Figures, Heads, Arms, Feet, ete. Crayon and chalk. 
4to. Drawing board and paper. 83 pieces. 


a 


STAINED GLASS © 


(All outside measurements. ) 


(hare 346. LEADED GLASS | PANEL, 254 x 37 In. 


He _ -3347. THREE LEADED AGATE GLASS WINDOWS, 26 in. 


square. 
is Si 348. LEADED SASH of stained glass, 23 x 17 in. 
ee 349. LEADED WINDOW, Moorish glass, 22 x 15 in. 


a wa 350. LEADED WINDOW, Crystal and ruby glass, 24 x 194 


in. 


2. - 351. LEADED GLASS WINDOW, with square panel in 
amber glass, 43 x 274 in. 


. ae 352. pa OF WI NDOW, blue and Tue leaded . 


20 x 15 in. 
[= 353. LEADED PANEL, turquoise blue and amber, 44 x 24 in. 
( 354. PAIR OF PANELS, pink and clouded blue, 32 x 41 in. 
(2) | 
M 355. FRANCIS LATHROP SIGN, Paris Exposition, framed, 
63 x 48 in. 


Lettered on the glass “Work of Francis Lathrop, Washing- 
ton Square, New York.” 


356. QUADRANT of large window of leaded glass, 62 in. at 
widest point. 


2 357. THREE LEADED GLASS WINDOW, conventional 
floral design, 234 x 18 in. 


(ITALIAN SCHOOL.) 


FAMILY. 


HE HoLy 


T 


LO 


No 


SAMPLES OF STAINED GLASS, unframed, 8 pieces. 


_ 359. SAMPLES OF STAINED GLASS, framed, 2 pieces. 


360. SAMPLES LEADED VENETIAN GLASS, framed, 11 
pieces. 


~ 361. LEADED GLASS, unframed, 6 pieces. 
- 362. UNFRAMED LEADED GLASS PANEL, with grapes. 
363. TWO FRAMED LEADED glass panels. (2) 


364. SAMPLES OF LEADED GLASS, unframed, various 


sizes, 12 pieces. 


365. TALL ROUND TOP LEADED GLASS WINDOW, 
with Angel figure. Height, 72 in.; width, 30 in. 


366. PANEL OF LEADED GLASS, with Flower Design in 
favrile glass. Height, 25 in.; width, 35 in. 


367. ROUND TOP. PANEL leaded glass, framed. Height, 
40 in.; width, 16 in. 


368. PANEL LEADED GLASS, 16 x 26 in. 


369. 3 SAMPLES LEADED GLASS BORDERS. 


370. MARBLE MOSAIC PANEL, 11x38 inches (corner 
damaged). 


371. ITALIAN PORTRAIT FRAME, elaborately carved 
and surmounted by a crown. Opening, height, 24 in.; width, 
20 in. | 


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